Jon Iverson

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Jon Iverson  |  Jan 14, 2016  |  4 comments
Chord Electronics had their suite divided into two rooms at CES, the main room as shown in the photo above and the smaller back room where all the headphone listening was taking place. Chord had their Mojo and Hugo TT DACs set up with a variety of Audeze headphones as reported earlier.

But in the main room was their latest DAVE DAC (which I'll be profiling in a later post) as well as some of their best electronics. The system was topped off with one of my personal favorites, the Vienna Acoustics The Music loudspeakers.

Jon Iverson  |  Jan 13, 2016  |  0 comments
Lots of all-in-one type digital music systems at CES this year, but this has to be one of the most simple and straightforward in purpose. You have a network ethernet port and a couple of USB inputs (for storage or flash drives) on the back and then left and right speaker posts. That's it, except for the power switch and plug of course.
Jon Iverson  |  Jan 13, 2016  |  0 comments
So new there isn't yet a firm US price (somewhere between $6-7k is the guess), the U1 is Lumin's latest high end network player with support for 32/384 PCM and DSD128. Tidal and Qobuz are built in and everything is run by the Lumin custom iOS and Android compatible music browsing app.

On the back are five types of digital output: USB, SPDIF, AES/EBU, BNC, and optical. Digital inputs include Gigabit Ethernet and USB for external or flash drives. Should arrive in the US next month.

Jon Iverson  |  Jan 13, 2016  |  10 comments
I'm grouping these two rooms together since we didn't listen to Graham Nash's album in either one, but rather had each host pick something out. We were getting behind schedule, so the idea was to expose Nash to some completely different speaker technologies back to back and see what he thought.
Jon Iverson  |  Jan 13, 2016  |  9 comments
Graham Nash seemed to know right away that these were the guys that provided the guts for his buddy Neil Young's Pono player and wanted to know all about it. After all, there is a version with Nash's signature on it.
Jon Iverson  |  Jan 12, 2016  |  0 comments
Also on display in the LH Labs room was the long awaited VI DAC, also started as an Indiegogo project, and available shortly via normal retail for $4999 in solid state version, or $6999 with tubes sporting both single-ended or balanced outputs as shown here. Interestingly the tube version still contains the complete solid-state output stage, so you can switch between them.
Jon Iverson  |  Jan 12, 2016  |  0 comments
Proprietor Gavin Fish was on hand to show off LH Lab's latest prototype, the Geek Source (initially started as an Indiegogo project), slated for release this spring at a retail price of around $5,000. There are optional Femto clocks and the Source will handle pretty much all PCM and DSD formats.
Jon Iverson, Larry Greenhill  |  Jan 12, 2016  |  5 comments
The new No. 519 is intended to be an all-encompassing source for digital playback and will include not only a CD transport, but also Bluetooth, streaming, network playback, DAC, digital volume control and headphone amp. On the back are AES/EBU, SPDIF, optical and USB inputs as well as ethernet networking jacks. There are both balanced and unbalanced analog outputs as well AES/EBU, SPDIF and optical digital outputs.
Jon Iverson  |  Jan 12, 2016  |  3 comments
AVM has three lines of products ascending in quality and price: Inspiration, Evolution, and Ovation. Pictured above is the Evolution MP3.2 Media Player with built-in Teac CD transport that handles PCM up to 24/192 and DSD64. There are six digital inputs, digital volume control, iOS and Android apps and Tidal integration.
Jon Iverson  |  Jan 12, 2016  |  1 comments
We were clearly off to a good start, so I was wondering what Graham Nash's reaction would be to an all out audiophile assault.

I explained to Nash that the Vivid speakers and Luxman system we just heard were relatively compact, by audiophile standards (though by no means modest), and that the next room would be more typical of the cost-no-object approach. Judged by Graham's "impact of the music" criteria, would bigger necessarily be better, or might it detract from the musical intent he was looking for?

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